In 2018, the Certain Women Art Show was the first exhibition held and dedicated exclusively to Latter-Day Saint Women artists. This year’s artist-organizers — Mary Brickey Cole, Laura Erekson Atkinson, and Nicole Woodbury — have more than doubled the size of the show by inviting 90 artists to create original works. In this interview, they discuss the process and intent behind the show.

Ashlee Whitaker is the Head Curator and Roy & Carol Christensen Curator of Religious Art at the Brigham Young University Museum of Art and has just opened a new exhibition on renowned sculptor and artist Mahonri Young. We talk about the exhibition, Young’s life and remarkable circle of influence.

In the Arena: The Art of Mahonri Young runs through September 21 at the BYU Museum of Art.

Mahonri Young (1877-1957), Plowing Valley of the Great Salt Lake, c.1930, oil on canvas, 28 ¼ x 72 1/8 inches. Brigham Young University Museum of Art, purchase/gift of the Mahonri M. Young Estate, 1959.

Mahonri Young (1877-1957), The Pavers, c.1924, oil on canvas, 29 ¼ x 48 inches. Brigham Young University Museum of Art, purchase/gift of the Mahonri M. Young Estate, 1959.

Opening May 3, Geilman’s show Works of Translation is a multi piece show featuring photos of her incredible works of art. From worksoftranslation.com:

This show is about transmission, recontextualization, and symbolic meaning—in essence, they are works of translation. I am fascinated with objects, their history and the meaning they imbue, especially when that meaning changes once placed within a different context. This show explores my faith and my relationship to my faith using the tools of art historical composition and object placement.

Below is a list of the works in the show with inspiration sources tied to the pieces. The commentary is not exhaustive in that I want you, the viewer to have space to make your own connections and meaning with the pieces.

The Spring Salon was first held in 1922, begun by students and teachers of Springville High School who wanted to exhibit and promote original artwork. The Salon has been held annually since that time, except during World War II when fuel and other goods were rationed nationwide. This episode is a preview of the show. We were fortunate enough to walk through the Salon, see the award-winners and share some thoughts about each of them for you. You can view the 95th Spring Salon from Thursday April, 25 until July 6.

Every three years, the Church of Jesus Christ of Latter-day Saints holds an art competition spanning the globe and featuring works from members of the Church on a central theme. This year, we were please to be invited to an early viewing of the show and provide our reaction to the show and a number of works that stood out. In this special podcast episode, we dive into the show and the works, and as always would love to hear your thoughts on what stood out to you. Feel free to leave them in the comments below or reach out to us on Instagram @zionartsociety.

The following works were discussed in the episode. For more information visit history.lds.org

We are back from winter break for a sit down with Ben Hammond, who among other achievements was just awarded the commission to sculpt Martha Hughes Cannon for the US Capitol. The national competition pays homage to the trailblazing Cannon, the first woman to serve in the Utah State Legislature.

Until the Statuary Hall Curator Committee officially approves Hammond’s design for the Martha Hughes Cannon statue, unfortunately we cannot post any images of the process. But the following images of Hammond’s piece titled Connexion and installed at Ashton Gardens at Thanksgiving Point demonstrates the steps of his sculpting process.

This painting was inspired by Lucy Mack Smith’s description of the urim and thummim as “2 smooth 3 cornered diamonds.” I imagined this mysterious tool in geometric form as triangles – one striving heavenward, the other reaching earthward – until a bridge of light was formed.

Using compasses and square, I built up a composition of triangles. Gradually a pattern revealed itself. While this design has its roots in a traditional Islamic pattern, as I drew and painted, it became something new. The process of discovering a new pattern feels to me very much like the process of revelation.

I make my own paints – my teachers in London taught that the discipline of preparing one’s materials from the earth was participation refining and purifying matter, elevating it from something base to something spiritual. Preparing my colours becomes a meditation on creativity and Creation. Subtle textures sparkle up and down to make a pillar of light. I chose gold leaf and crushed minerals to reflect and refract the light. Even the glittery black was gathered from the seaside on the island of Hormuz.

At the very centre of the composition, the navel is marked in blood red – the point where heaven and earth meet. Tiny gold triangles at the top and base of the composition echo the shapes Mother Smith described.

For months now, we have been tossing around the idea of taking this podcast in a new direction. As a result, Mormon Visual Culture is no more. Well, the name is changed. We are still going to bring regular interviews with artists, scholars and collectors, hopefuls much more regularly in the coming months. We are back. Tell your friends. Share the news.

A wonderful discussion with artist and sculptor extraordinaire Tyson Snow about his background and the very unique set of circumstances - including recently returning from The Celebration of Fine Art in Scottsdale - that had led him to be one of the most talented and educated sculptors of our day. From enormous monuments to beautiful desktop works, Tyson’s work in bronze is on view throughout the country, specifically in the West.

The Reaper by Tyson Snow / bronze / 28 1/2 × 15 × 12 (in) / Date of Creation: 2014. The Reaper won first place in the 2015 International ARC Salon competition at the European Museum of Modern Art in Barcelona, Spain.

Brad Kramer is the owner of Provo's Writ & Vision, an art gallery and book store that has specialized in promoting both new and upcoming contemporary art and well-known artists outside of the typical canon of LDS art. His unique background and perspective lend to an interesting role in the arts community in Utah. The discussion looks at this background, his goals as a gallery owner, and some interesting experiences he has had as a gallery owner in the arts hub of the State.

Lane Twitchell

Buddhascreen

oil, polymers, and wax-based pigments on cut Olfin and Melinex mounted to oil, acrylic, and wax on birch-ply panel, 2016